Antony and Cleopatra (15 page)

For all their patronage of the native cults, Ptolemy XII, like his predecessors, showed far more personal enthusiasm for Hellenic deities. The self-styled ‘New Dionysus' had particular reverence for his namesake. Music and dance were ways of worshipping Dionysus, and this as well as taste and pride in his own skill help to explain his staging of musical competitions and his own performances. Luxury, drinking and feasting were central to his version of the cult. The extravagant indulgence of the king and his court mixed religious devotion with symbols of wealth and plenty for the whole kingdom. They were also opportunities for Ptolemy to enjoy himself. One inscription survives in which several Egyptian men claim to have been Auletes' catamites. Each gave himself a suggestive pseudonym and even if they were really erotic dancers rather than actual lovers – the Greek could mean either – then it still gives a flavour of Ptolemy XII's court. Auletes does not appear to have been a very active ruler, except when it came to regaining his throne. He was a survivor, but there is little sign of energy in government, especially after his restoration. The king feasted, performed and indulged himself in pleasure and opulence. Even if this all had an aspect of worship, it was indulgence none the less.
¹³

Cleopatra grew from a child into a young woman in these years. We know nothing of her life at this time or how closely she was involved in the daily life and banquets of her father's court. The Greeks and Macedonians as a rule did not grant as much licence to women as to men. Her education may well have continued, but whether her experience of Alexandria in these years had more the flavour of her father's court or of the sober education of the Museum and Library, or indeed more innocent indulgences of the young and rich, is simply impossible to know.

At some point Auletes made a will, one copy of which was sent to Rome. This may have been during the disruptions of 53 and 52
BC
, for we are told that it was not forwarded to the Senate's keeping and remained with Pompey The Romans were asked to guarantee the implementation of the king's wishes ‘in the name of all the gods and the treaties which he had made at Rome'. Strikingly he did not leave his kingdom to them, and instead Cleopatra, his oldest remaining daughter, and his oldest son Ptolemy were to become joint rulers. The boy was some seven or eight years her junior and too young to be made sole ruler. He would also need a consort and for the Ptolemies a sister was always a likely choice.
¹⁴

It would not have been safe for Auletes to ignore his oldest surviving child, since this would have invited a challenge to the succession. Nothing is known about the relationship between Cleopatra and her father, and whether or not he sensed promise in her. Perhaps there was genuine affection, especially if she had accompanied him during his exile, but we simply do not know. Similarly, there is no way of knowing if efforts were made to prepare her for the task of ruling. Auletes does seem to have publicly promoted all of his children, who were referred to as ‘the new sibling-loving gods' in an inscription from 52
BC
. The experience of the past never stopped the Ptolemies from proclaiming family harmony.
¹⁵

By this time, Auletes' health may have been failing. On a frieze from the temple at Dendera, Cleopatra is depicted behind the figure of her father, both making offerings to the Egyptian gods. Some scholars see this as an indication that he had already made her co-ruler with him. If true, then Auletes may have wanted assistance in the task of ruling and perhaps to smooth the succession after his death. On the other hand, Cleopatra was now the most senior female member of the royal family and it may simply be in this capacity that she was shown supporting the king. No source actually claims that she ruled jointly with her father. Some official documents list them both, but these may have come from the early months of her reign and maintained a fiction that her father was still alive – something not uncommon at the beginning of a new reign.
¹⁶

By 51
BC
Cleopatra was about eighteen, but it should already be clear that we know very little indeed about her life up until this point or what she was like. Beyond her extensive education and clear intelligence, almost everything else about her character remains conjecture. Declared a goddess and the daughter of a self-declared god, her family had been royal and divine for centuries. The self-confidence of someone born to rule was mixed with the uncertainty and fear of her own family as potentially deadly rivals.

Whether or not she had actually travelled outside Egypt and visited Rome, the young Cleopatra was aware of the overwhelming power of the Roman Republic. She may also have had some understanding of the unpredictability of the new world power and the dominance of individuals like Pompey Cleopatra's later career suggest ambition and ruthlessness. It is hard to believe that she did not know from a young age that there would always be people eager to use her to gain power themselves. She was the king's daughter, accepted by him as legitimate, whatever the precise details of her birth. The choices were between being controlled by others or trying to be in control herself. In either case there was a considerable risk of a sudden and violent death.
¹⁷

We can do little more than guess at Cleopatra's character at this stage of her life, but what of her appearance? The question inevitably arises in a way that it simply does not for male figures from the ancient world, or indeed for many women. In part, this is because images are plentiful for most famous names such as Alexander the Great and Caesar. The attitude to Cleopatra is always different, for it is more than simple curiosity. Imagined and reimagined so often over the ages, people have a far more emotional desire to picture the real Cleopatra. Quickly, the question becomes not what she looked like, but whether or not she was beautiful. Even this tends to be almost a simple binary decision, making her either beautiful or ugly — a standard that few people would care to have applied to themselves.
¹⁸
The literary sources are of limited help. According to Plutarch,

Dio wrote more than a century after Plutarch and claimed that Cleopatra ‘was a woman of surpassing beauty, and at that time, when she was in the prime of her youth, she was most striking; she also possessed a most charming voice and a knowledge of how to make herself agreeable to every one'.
¹⁹

The passages are less different than tends to be claimed. It is important to note that Plutarch does not say that Cleopatra was not beautiful, simply that she was not the most beautiful woman in the world and that her looks were one part of her considerable attractiveness. Dio does not claim that her beauty surpassed all other women, but that she was very beautiful and also charismatic.

Ideals of beauty change from age to age and culture to culture, and are anyway subject to individual taste. Artistic representations are subject to conventions and vary in their purpose as well as the talents of the artist. The reliefs carved on Egyptian temples were part of a truly ancient tradition and individuals are recognisable only because they are named in the inscription. A young Cleopatra appeared on coins minted in Ascalon. The face on these does not seem especially attractive to modern eyes, but we need to remember that coins were not pin-ups or equivalent to the cover of modern fashion magazines. They were statements of power, and in this case carried a message of the legitimacy of a young queen faced with a serious challenge to her throne and life. The aim was to show power and legitimacy, emphasising that Cleopatra was the rightful heir to the throne of the Ptolemies. The head on coins did not have to be strictly accurate. The Ascalon coins show a prominent, slightly hooked nose and large eyes, both features strongly associated with the Ptolemies.

Later busts of a more mature Cleopatra present even more problems. Identification is almost never secure, and some might easily represent other members of her family, including one of her daughters. Even if they are intended to be Cleopatra herself, they may also have been made long after her death. Most suggest a face that was pleasant, if not exceptionally striking. Many ancient sculptures were originally painted, which would have brought them much more to life. Even so there were limits to the medium and it would be hard to convey vivacity in such a portrait even if this was thought desirable. Both Dio and Plutarch emphasised Cleopatra's voice and charm. Charisma is not readily conveyed in marble or bronze.

Cleopatra clearly had a strong, somewhat hooked nose. Given the tendencies of her family and her lifestyle, she may well have been a little inclined to plumpness, especially in her teenage years. Excessive thinness as an ideal of feminine beauty is a very recent phenomenon, in spite of its fervent promotion by the fashion industry and media. No evidence suggests that she was as obese as some of the other Ptolemies. She was certainly pretty and probably, by most standards, beautiful. A full figure readily becomes voluptuous, and a hooked nose could be hawk-like if we search for more flattering words. She was not necessarily more beautiful than other women, but her real beauty was combined with wit, sophistication, charm and a lively personality. All of this was reinforced by the simple fact that she was a princess and then a queen. Glamour surrounded Cleopatra, magnifying the force of her real beauty and personality. Given our own age's obsession with celebrity, we should have no difficulty in understanding this.

The poet Lucan is the only ancient author to make any reference at all to the queen's complexion. It comes in a scene emphasising the ambition of the queen, the decadent luxury of her court and overpowering ambition of Julius Caesar. He depicts Cleopatra wearing a dress of silk, the material brought originally from China having been rewoven to make it finer and semi-translucent. Such a filmy garment is reminiscent of Ptolemy Physcon. In this case Lucan talks of it revealing much of Cleopatra's ‘white breasts'
(candida pectora).
Lucan wrote in Rome some ninety years after the queen's death and it is hard to know whether or not he had seen accurate images of her appearance, let alone her colouring. Much of his poem is highly fanciful. In addition,
candida
normally means white or fair – and in the case of hair can mean blonde – and this begs the question of white or light in comparison to what? Earlier in the same passage he talks of the variety of slaves attending to the guests, contrasting blondes with ruddy complexions (or just possibly red hair) from northern Europe, with dark slaves with curly hair from Africa. This could perhaps imply that Cleopatra was not like either of these in her own appearance, but that is surely pushing the evidence too far. The whole passage is a slender reed on which to rest confident assertions about Cleopatra's appearance.
²⁰

Apart from this, there is not a shred of evidence about Cleopatra's complexion or the colour of her eyes or hair. This is worth stating bluntly, because so many people keep trying to deduce these or claim to have discovered evidence. At the time of writing two separate TV documentaries have presented reconstructions presenting her as relatively dark-skinned and with brown eyes and black hair. This is all conjecture. As we have seen, there is uncertainty about the identity of Cleopatra's mother and grandmother (or indeed grandmothers if her parents were not siblings).
²¹

The Ptolemies were Macedonians, with an admixture of a little Greek and via marriage with the Seleucids a small element of Syrian blood. (There is no evidence to make us question the paternity of any of the line and suggest that they were the product of an illicit liaison between the queen and a man other than her husband. This remains possible, if not very likely, but an uncertain basis for any argument.) The Macedonians were not an homogenous people and seem to have varied considerably in appearance and colouring. Alexander the Great was fair-haired, although it is always difficult to know precisely what this meant. A Roman copy of an earlier mosaic shows him with medium-brown hair. Fair might simply mean not black or very dark brown. On the other hand, several of the early Ptolemies were blond and comparisons of their hair to gold suggest this was more than simply
not
black-haired.

For most of the Ptolemies, including Auletes, there is no mention of the shade of their hair or the colour of their eyes. It is unclear how common blond hair was in the family. (If Cleopatra's mother was a mistress then we know nothing at all about her appearance or ethnic background, although the probability would always be that she was from the Greek or Macedonian aristocracy.) A painting from Herculaneum in the Bay of Naples, which shows a woman wearing the headband of a Hellenistic queen, has sometimes been identified as Cleopatra. She has dark, distinctly red hair. This is not impossible, but there is actually no very strong reason to believe that the image is supposed to be Cleopatra.
²²

Absolutely nothing is certain. Cleopatra may have had black, brown, blonde, or even red hair, and her eyes could have been brown, grey, green or blue. Almost any combination of these is possible. Similarly, she may have been very light skinned or had a darker more Mediterranean complexion. Fairer skin is probably marginally more likely given her ancestry. Greek art traditionally represented women and goddesses as very pale, and a fair skin seems to have been part of the ideal of beauty. Roman propaganda never suggested that Cleopatra was dark-skinned, although this may simply mean that she was not exceptionally dark or simply that the colour of her skin was not important to her critics.